The Washington Post describes the artistry of Emanuel Ax as "thoughtful, lyrical, lustrous..." Ax performs Ludwig van Beethoven's youthful First Piano Concerto, while Cristian Măcelaru conducts "Play" by Andrew Norman. Norman is one of today's most brilliant – and popular – composers. His work reflects our time and has been hailed by The New York Times for its "daring juxtapositions and dazzling colors".
Friday, November 9
Los Angeles: 05:00 PM
Detroit, New York, Toronto, Lima: 08:00 PM
Brasília: 11:00 PM
Saturday, November 10
London: 01:00 AM
Paris, Brussels, Berlin, Madrid, Rome, Warsaw, Stockholm, Oslo: 02:00 AM
Athens, Kiev, Jerusalem, Beirut, Cape Town: 03:00 AM
Moscow, Ankara: 04:00 AM
Abu Dhabi: 05:00 AM
New Delhi: 06:30 AM
Beijing, Manila, Hong Kong: 09:00 AM
Tokyo, Seoul: 10:00 AM
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Antonín Dvořák (1841-1904)
♪ Carnival Overture, Op.92 (1891)
Ludwig van Beethoven (1770-1827)
♪ Piano Concerto No.1 in C major, Op.15 (1795, rev. 1800) *
i. Allegro con brio
iii. Rondo. Allegro scherzando
Andrew Norman (b. 1979)
♪ Play (2013, rev. 2016)
i. Level 1
ii. Level 2
iii. Level 3
Emanuel Ax, piano *
Detroit Symphony Orchestra
Conductor: Cristian Măcelaru
Live from Orchestra Hall, Max M. Fisher Music Center, Detroit
Friday, November 9, 2018, 08:00 PM EDT (GMT-4) / Saturday, November 10, 2018, 03:00 AM EET (GMT+02:00)
Live on Livestream
|Photo by Jessa Anderson|
Andrew's work draws on an eclectic mix of sounds and notational practices from both the avant-garde and classical traditions. He is increasingly interested in story-telling in music, and specifically in the ways non-linear, narrative-scrambling techniques from other time-based media like movies and video games might intersect with traditional symphonic forms. His distinctive, often fragmented and highly energetic voice has been cited in the New York Times for its "daring juxtapositions and dazzling colors", in the Boston Globe for its "staggering imagination", and in the L.A. Times for its "audacious" spirit and "Chaplinesque" wit.
Andrew's symphonic works have been performed by leading ensembles worldwide, including the Los Angeles and New York Philharmonics, the Philadelphia and Minnesota Orchestras, the BBC, Saint Louis, Seattle, and Melbourne Symphonies, the Orpheus, Saint Paul, and Los Angeles Chamber Orchestras, the Tonhalle Orchester, the Royal Concertgebouw Orchestra, the Orchestre National de France, and many others. Andrew's music has been championed by some of the classical music's eminent conductors, including John Adams, Marin Alsop, Gustavo Dudamel, Simon Rattle, and David Robertson.
In recent seasons, Andrew's chamber music has been featured at the Bang on a Can Marathon, the Chamber Music Society of Lincoln Center, the Wordless Music Series, the CONTACT! series, the Ojai Festival, the MATA Festival, the Tanglewood Festival of Contemporary Music, the Green Umbrella series, the Monday Evening Concerts, and the Aspen Music Festival. In May of 2010, the Berlin Philharmonic's Scharoun Ensemble presented a portrait concert of Andrew's music entitled "Melting Architecture".
Andrew was recently named Musical America's 2017 Composer of the Year. He is the recipient of the 2004 Jacob Druckman Prize, the 2005 ASCAP Nissim and Leo Kaplan Prizes, the 2006 Rome Prize, the 2009 Berlin Prize and a 2016 Guggenheim Fellowship. He joined the roster of Young Concert Artists as Composer in Residence in 2008 and held the title "Komponist für Heidelberg" for the 2010-2011 season. Andrew has served as Composer in Residence with the Boston Modern Orchestra Project and Opera Philadelphia, and he currently holds that post with the Los Angeles Chamber Orchestra. Andrew's 30-minute string trio The Companion Guide to Rome was named a finalist for the 2012 Pulitzer Prize in Music, and his large-scale orchestral work Play was named one of NPR's top 50 albums of 2015, nominated for a 2016 Grammy in the Best Contemporary Classical Composition category, and recently won the Grawemeyer Award for Music Composition.
Andrew is a committed educator who enjoys helping people of all ages explore and create music. He has written pieces to be performed by and for the young, and has held educational residencies with various institutions across the country. Andrew joined the faculty of the USC Thornton School of Music in 2013, and he is thrilled to serve as the new director of the L.A. Phil's Composer Fellowship Program for high school composers.
Andrew recently finished two piano concertos, Suspend, for Emanual Ax, and Split, for Jeffrey Kahane, as well as a percussion concerto, Switch, for Colin Currie. Upcoming projects include a symphony for the Los Angeles Philharmonic and collaborations with Jeremy Denk, Jennifer Koh, Johannes Moser, yMusic, the Berlin Philharmonic, and the London Symphony.
Andrew's works are published by Schott Music.
|Photo by Lisa-Marie Mazzucco|
In partnership with colleagues Leonidas Kavakos and Yo-Yo Ma, he begins the current season with concerts in Vienna, Paris and London with the trios of Brahms recently released by Sony Classical. In the US he returns to the orchestras in Cleveland, Chicago, New York, Philadelphia, San Francisco, Los Angeles, Minneapolis, Washington, Detroit, Pittsburgh, Nashville and Portland, OR, and to Carnegie Hall for a recital to conclude the season. In Europe he can be heard in Munich, Amsterdam, Berlin, Rome, Vienna, London, and on tour with the Budapest Festival Orchestra in Italy.
Always a committed exponent of contemporary composers, with works written for him by John Adams, Christopher Rouse, Krzysztof Penderecki, Bright Sheng, and Melinda Wagner already in his repertoire, most recently he has added HK Gruber's Piano Concerto and Samuel Adams' "Impromptus".
A Sony Classical exclusive recording artist since 1987, recent releases include Mendelssohn Trios with Yo-Yo Ma and Itzhak Perlman, Strauss' Enoch Arden narrated by Patrick Stewart, and discs of two-piano music by Brahms and Rachmaninov with Yefim Bronfman. In 2015 Deutche Grammophon released a duo recording with Mr. Perlman of Sonatas by Fauré and Strauss, which the two artists presented on tour during the 2015-2016 season. Mr. Ax has received Grammy® Awards for the second and third volumes of his cycle of Haydn's piano sonatas. He has also made a series of Grammy-winning recordings with cellist Yo-Yo Ma of the Beethoven and Brahms sonatas for cello and piano. His other recordings include the concertos of Liszt and Schoenberg, three solo Brahms albums, an album of tangos by Astor Piazzolla, and the premiere recording of John Adams' Century Rolls with the Cleveland Orchestra for Nonesuch. In the 2004-2005 season Mr. Ax also contributed to an International Emmy® Award-Winning BBC documentary commemorating the Holocaust that aired on the 60th anniversary of the liberation of Auschwitz. In 2013, Mr. Ax's recording Variations received the Echo Klassik Award for Solo Recording of the Year (19th century music/Piano).
A frequent and committed partner for chamber music, he has worked regularly with such artists as Young Uck Kim, Cho-Liang Lin, Yo-Yo Ma, Edgar Meyer, Peter Serkin, Jaime Laredo, and the late Isaac Stern.
Mr. Ax resides in New York City with his wife, pianist Yoko Nozaki. They have two children together, Joseph and Sarah. He is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Skidmore College, Yale University, and Columbia University.
Newly appointed Music Director and Conductor of the Cabrillo Festival of Contemporary Music, Cristian Măcelaru (b. 1980, Timișoara, Romania) has established himself as one of the fast-rising stars of the conducting world. With every concert he displays an exciting and highly regarded presence, thoughtful interpretations and energetic conviction on the podium. He launches his inaugural season at Cabrillo in August 2017 with premiere-filled programs of new works and fresh re-orchestrations by an esteemed group of composers. Among the 2017 season's highlights are seven world premieres, 11 composers-in-residence, a stunning roster of international guest artists, and two special tributes – one to commemorate Lou Harrison's centenary and another honoring John Adams' 70th birthday.
He recently completed his tenure with the Philadelphia Orchestra as Conductor-in-Residence, a title he held for three seasons until August 2017. Prior to that, he was their Associate Conductor for two seasons and previously Assistant Conductor for one season from September 2011. He made his Philadelphia Orchestra subscription debut in April 2013 and continues a close relationship with the orchestra in leading them on annual subscription programs and other special concerts.
Măcelaru regularly conducts top orchestras in North America including the Chicago Symphony, New York Philharmonic, Los Angeles Philharmonic, National Symphony Orchestra, St Louis Symphony, Toronto Symphony and Detroit Symphony, in addition to the Philadelphia Orchestra. In the 2016-2017 season, he led the Bayerischen Rundfunk Symphonieorchester in two separate programs and made debuts with the Royal Concertgebouw Orchestra, WDR Sinfonieorchester, Weimar Staatskapelle, Royal Flemish Philharmonic and New Japan Philharmonic with Anne-Sophie Mutter as soloist. In recent seasons, further international appearances have brought him to Deutsches Symphonie-Orchester Berlin, Frankfurt Radio Symphony Orchestra, Gothenburg Symphony, Rotterdam Philharmonic, City of Birmingham Symphony Orchestra, Halle Orchestra and Royal Scottish National Orchestra.
The 2017-2018 season sees Măcelaru opening the National Symphony Orchestra's season in Washington D.C. and returning to the Philadelphia Orchestra on three subscription programs plus Messiah concerts. He guest-conducts the symphony orchestras of Dallas, Pittsburgh, St Louis, Atlanta, Seattle, Cincinnati, Milwaukee, San Diego and Vancouver. Internationally he leads the Deutsches Symphonie-Orchester Berlin, Bayerische Staatsoper, WDR Sinfonieorchester, Orchestre Philharmonique de Radio France, Swedish Radio Symphony, Danish National Symphony Orchestra, Halle Orchestra and Royal Scottish National Orchestra. In Summer 2017, Măcelaru makes his debut with the Cleveland Orchestra at the Blossom Festival and returns to the Grand Teton and Interlochen Festivals. Additionally he leads the Philadelphia Orchestra in two programs at the Mann Center.
Cristian Măcelaru made his Carnegie Hall debut in February 2015 on a program with the Danish National Symphony Orchestra and Anne-Sophie Mutter. A keen opera conductor, in June 2015 he led the Cincinnati Opera in highly acclaimed performances of Il Trovatore. In 2010, he made his operatic debut with the Houston Grand Opera in Madama Butterfly and led the U.S. premiere of Colin Matthews's Turning Point with the Tanglewood Music Center Orchestra as part of the Tanglewood Contemporary Music Festival. In 2019, he returns to the Houston Grand Opera on a Kasper Holten production of Don Giovanni.
Măcelaru came to public attention in February 2012 when he conducted the Chicago Symphony Orchestra as a replacement for Pierre Boulez in performances met with critical acclaim. Winner of the 2014 Solti Conducting Award, Măcelaru previously received the Sir Georg Solti Emerging Conductor Award in 2012, a prestigious honor only awarded once before in the Foundation's history. He has participated in the conducting programs of the Tanglewood Music Center and the Aspen Music Festival, studying under David Zinman, Rafael Frühbeck de Burgos, Oliver Knussen and Stefan Asbury. His main studies were with Larry Rachleff at Rice University, where he received master's degrees in conducting and violin performance. He completed undergraduate studies in violin performance at the University of Miami. An accomplished violinist from an early age, Măcelaru was the youngest concertmaster in the history of the Miami Symphony Orchestra and made his Carnegie Hall debut with that orchestra at the age of nineteen. He also played in the first violin section of the Houston Symphony for two seasons.
Măcelaru formerly held the position of Resident Conductor at Rice University's Shepherd School of Music, where he was Music Director of the Campanile Orchestra, Assistant Conductor to Larry Rachleff and Conductor for the Opera Department. A proponent of music education, he has served as a conductor with the Houston Youth Symphony, where he also conceptualized and created a successful chamber music program. As Founder and Artistic Director of the Crisalis Music Project, Mr. Măcelaru spearheaded a program in which young musicians perform in a variety of settings, side-by-side with established artists. Their groundbreaking inaugural season produced and presented concerts featuring chamber ensembles, a chamber orchestra, a tango operetta, and collaborations with dancer Susana Collins, which resulted in a choreographed performance of Vivaldi/Piazzolla's Eight Seasons.
Cristian Măcelaru resides in Philadelphia with his wife Cheryl and children Beniamin and Maria.
|Cristian Măcelaru (Photo by Sorin Popa)|
Antonín Dvořák: Carnival Overture, Op.92
In many ways, the 1890s represented for Dvořák a time of creative and personal renaissance. It was during this decade that he made his first forays into the New World, the direct result of which included the production of a wealth of American-inflected chamber music as well as the composer's best-known work, the Symphony No.9 (1893). The latter proved to be Dvořák's final essay in that form, signaling, perhaps, his increasing interest in other genres. In addition to the operatic stops and starts that occupied much of the composer's attention in the 1890s, Dvořák produced a substantial body of self-contained orchestral works in the guise of overtures and tone poems.
The Carnival Overture, Op.92 (1891), was the second of a group of three works by the composer collectively titled "Nature, Life, and Love". An operatic spirit – one is struck by certain Carmen-esque flashes, for example – informs the overture throughout, as does a prevailing ebullience and stomping, folk dance-like energy. A brief central Andantino con moto episode of sedate, almost nocturnal character is distinguished by more expansive melodies and the use of the English horn, one of Dvořák's favorite instruments, in an unusual role: sounding an ostinato accompaniment rather than the melody proper. The overture ends in a spirit similar to that in which it begins, aptly embodying the festal atmosphere suggested by its title.
Source: Michael Rodman (allmusic.com)
Ludwig van Beethoven: Piano Concerto No.1 in C major, Op.15
Confusingly, Beethoven's Piano Concerto No.1 (1795-1800) actually follows the Concerto No. 2 in order of composition. The confusion is explained by the fact that the composer withhheld what is now known as the Second Concerto from publication in order to make substantial revisions (including an all-new rondo), in the meantime proceeding to complete and publish the present work. There are distinct Mozartean moments in the First Concerto, particularly in the quiet, strings-only introduction to the opening Allegro con brio. With the entrance of the orchestra (complete with brass and timpani), however, the music takes on a more martial character and a distinctive vigor peculiar to Beethoven's style. The second subject, played by violins and woodwinds over a restless bass accompaniment, unfolds in longer, more lyrical phrases. When the piano finally enters, it's with material that can be heard as a variant of either of the themes already presented; a recurring rhythmic figure, though, clearly links it to the music that opens the work. Throughout the remainder of the movement, Beethoven employs light, rapid passagework no doubt intended to display the composer's own virtuosity. Further opportunity for pianistic display arises at the cadenza, which is followed by a brief coda. The Largo second movement begins with a vocally expressive, lyrical melody, an almost prayerful moment that forecasts the profound slow movements of Beethoven's final period. The orchestra answers with a more forthright theme, then eases into a variant of the piano's melody. The soloist returns with further comments in this vein, highly ornamented and subtly supported and commented upon by the strings and woodwinds. After a poignant episode in which the keyboard adopts for the first time a thin, unassuming texture, the piano reintroduces the opening theme, soon joined by the orchestra. The movement closes in a hushed atmosphere. The Allegro scherzando rondo is typical of much of Beethoven's music of the period: full of high spirits, rhythmic syncopations, and irregular phrasings. The piano presents a comically sputtering theme, soon echoed by the full ensemble. Several of the succeeding episodes have a quirky urgency and comic almost melodrama of the sort that inspired silent film scores more than a century later. The work draws to a conclusion in a spirit of both boldness and mischief.
Source: James Reel (allmusic.com)
Andrew Norman: Play
Andrew Norman wrote about Play: "It is difficult for me to write about Play. Play is a cycle of pieces, a body of work that I have been writing and rewriting for almost five years. Play explores many different ideas – ideas about choice, chance, free will, and control, about how technology has rewired our brains and changed the ways we express ourselves, about the blurring boundaries of reality in the internet age, the murky grounds where video games and drone warfare meet, for instance, or where cyber-bullying and real world violence converge. Play touches on the corrupting influence of power and the collapse and rebirth of social systems, but it is also explores the physicality and joy of instrumental playing, as well as the many potential meanings of coordinated human activity – how the display of massed human synchronicity can represent both the communal best and coercive worst of our race".
Robert Schumann: Symphony No.4 in D minor – Detroit Symphony Orchestra, Cristian Măcelaru
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